"Analysis: Intro"

I had to read the definitions of hermeneutics and the formalist approach a few times before I think I grasped what these definitions mean. If I understand it right (and this is in very simple terms), hermeneutics has to do with looking at a piece while keeping in mind the background factors that went into writing it. A formalist approach has to do with specific theoretic and structural elements.

While two types of analysis are presented in this definition, I like the closing sentences of the introduction to sum up what analysis really does:

"The ultimate purpose of analysis is to construct interpretations which make it possible for the musical work to be aesthetically as well as intellectually appreciated to a greater extent--or at least in different ways--than had been the case before the analysis was considered."

"Criticism, Musical"

Musical criticism. Many times the term "criticism" has a negative connotation. After reading the definition presented in Oxford Music Online, I actually have considered it from a different perspective. The definition states that musical criticism is studying the "aesthetics, history, and evolution of music." I suppose that is what a critic does--they talk about aesthetics. I think that the problem with criticism is that it can be very subjective. If a critic doesn't like a piece, that doesn't necessarily mean that someone else won't like it. But then again, if musicians are trying to conform their pieces to some sort of standard, critics must be knowledgeable in this standard and may be able to assess the quality of work.

BUT! Then again--music changes with time. Certain standards that were once used-- basso continuo, stile concitato, music to influence the affections (thanks, Dr. Radice)--are no longer the norm. Critics have to know the styles of the times and if composers are even trying to conform to a particular style. 

"Music Criticism has Degenerated into Lifestyle Reporting"

I agree with the content in this article 100%. Music has become more of a lifestyle choice. It's not really about the music anymore--it's about the hype that comes with it. 

I watched some of the American Idol season this year--mostly because Harry Connick Jr. was a judge. He was a breath of fresh air. He knows music--really knows it, and he brought that knowledge to the show. But, like the author of this article mentions, J-Lo comments on his knowledge like it's a bad thing. I can't help but say that the media gives the people what they want. If something isn't selling, it's going to be taken off the market. That's what I think has happened to the music industry and music criticism. [Most] people don't care about how instruments are played or the history or theory behind a song. They want to know about the artist's life and who is dating who, and what's "in" and what's "out." It's sad. I'm not really sure what can be done about this. Music teachers need to really have a vision for change for their students. 

"Please, Critics, Write about the Filmmaking"

It's all about the form. 

"Form is the means by which content is expressed."

Although the author of this article is writing mostly about filmmaking, there are many parallels to the musical world. As I previously mentioned, I think that critics are writing what people want to hear. I feel as if it's our job to change this though. After reading these two articles, I am asking myself, what can I do, as a music educator, to influence my students to appreciate music as a form. How can I convey to them that it isn't only about the artists themselves? It is about the craft. Food for thought.